Frame it!
an online course by Susannah Garden
January 17th — February 13th
5 weeks
Zoom calls on Thursdays at 19:00
Zoom calls on Thursdays at 19:00
→ Course is offered in English
Good illustration benefits from a certain amount of “cross-pollination”, and other types of visual communication can often be an excellent source of inspiration.
This course focuses on composition methods based on examples from classic photography and film. You will use photos by Ansel Adams, Henri Cartier-Bresson and Alfred Eisenstadt as reference points for three thematic framing ideas. Their works will help you to understand how a photographer is able to compose the elements of an image to create a particular effect.
You will focus on framing as a technique for drawing attention to a subject in an illustration, and discuss ways to crop an image, choose angles and structure the composition to get the most expressive and dynamic solution. You will also explore how "incidental" compositional elements can act as framing devices that can become part of a narrative, as well as providing context to the image.
Also you will learn how to train your “photographic eye” by shooting photos and video at specific locations, which you will then re-work, and create stylised illustrations from them. You’ll explore how what you cut out of the frame can often be as important as what you leave in. You'll also look at how we can use all sorts of objects and shapes: branches, tunnels, arches, windows and even people as framing devices.
Requirements
– Some experience in observational drawing
– The ability to discuss ideas in English (the required level is at least pre-intermediate)
– The ability to compose, edit and adapt your illustrations
– Some experience with drawing techniques and a range of materials
Recommended for those who would like to
– Improve their drawing and observation skills
– Develop ways of thinking with the help of drawing
– Focus on original ideas in their illustration
– Learn some formal elements of composition
– Consider composition in terms of narration
– Add some drama and impact to works
– Take more risks with illustration
– Become a better visual storyteller
– Use their sketchbooks as resource for more serious projects
– Improve their confidence in talking about their work in English
Estimated time
3-4 hours a week
Drawing techniques
Gouache, ink, coloured pencils, mixed media or digital — at the student’s request
What skills will be developed
• Understanding of visual language as a whole
• Observational skills
• Knowledge of framing in film and photography and such topics as framing, cropping, shot angle etc.
• An understanding of the creative use of composition
• Understanding of effective visual narration techniques
• Make a visual notes and think at the same time
• Conduct effective visual research
• The ability to discuss ideas in English
As a result you will receive
– An inspiring series of your own photographs demonstrating three different approaches to compositional framing
– Three finished illustrations that use three of your initial photos as a starting point
This course focuses on composition methods based on examples from classic photography and film. You will use photos by Ansel Adams, Henri Cartier-Bresson and Alfred Eisenstadt as reference points for three thematic framing ideas. Their works will help you to understand how a photographer is able to compose the elements of an image to create a particular effect.
You will focus on framing as a technique for drawing attention to a subject in an illustration, and discuss ways to crop an image, choose angles and structure the composition to get the most expressive and dynamic solution. You will also explore how "incidental" compositional elements can act as framing devices that can become part of a narrative, as well as providing context to the image.
Also you will learn how to train your “photographic eye” by shooting photos and video at specific locations, which you will then re-work, and create stylised illustrations from them. You’ll explore how what you cut out of the frame can often be as important as what you leave in. You'll also look at how we can use all sorts of objects and shapes: branches, tunnels, arches, windows and even people as framing devices.
Requirements
– Some experience in observational drawing
– The ability to discuss ideas in English (the required level is at least pre-intermediate)
– The ability to compose, edit and adapt your illustrations
– Some experience with drawing techniques and a range of materials
Recommended for those who would like to
– Improve their drawing and observation skills
– Develop ways of thinking with the help of drawing
– Focus on original ideas in their illustration
– Learn some formal elements of composition
– Consider composition in terms of narration
– Add some drama and impact to works
– Take more risks with illustration
– Become a better visual storyteller
– Use their sketchbooks as resource for more serious projects
– Improve their confidence in talking about their work in English
Estimated time
3-4 hours a week
Drawing techniques
Gouache, ink, coloured pencils, mixed media or digital — at the student’s request
What skills will be developed
• Understanding of visual language as a whole
• Observational skills
• Knowledge of framing in film and photography and such topics as framing, cropping, shot angle etc.
• An understanding of the creative use of composition
• Understanding of effective visual narration techniques
• Make a visual notes and think at the same time
• Conduct effective visual research
• The ability to discuss ideas in English
As a result you will receive
– An inspiring series of your own photographs demonstrating three different approaches to compositional framing
– Three finished illustrations that use three of your initial photos as a starting point
Framing as a technique for creating illustrations
~160
Susannah Garden — educator
Special price up to January 15th
~136€
An Australian illustrator and artist living in Berlin.
Graduated from the British Higher School of Art and Design (Bachelor of Illustration, 2016) and the University of Melbourne in Australia (Bachelor of Visual Arts and Film, 2003).
Has been conducting seminars and workshops on art and illustration for about 6 years. Taught illustration at the British Higher School of Art and Design. Co-organizer of Sunday Sketching in Berlin (Sunday Sketching Berlin) — thematic drawing sessions in interesting locations every two weeks.
Web-site
Instagram
Behance
Graduated from the British Higher School of Art and Design (Bachelor of Illustration, 2016) and the University of Melbourne in Australia (Bachelor of Visual Arts and Film, 2003).
Has been conducting seminars and workshops on art and illustration for about 6 years. Taught illustration at the British Higher School of Art and Design. Co-organizer of Sunday Sketching in Berlin (Sunday Sketching Berlin) — thematic drawing sessions in interesting locations every two weeks.
Web-site
Behance
14 500 ₽
“Before I was introduced to illustration, I studied film, and learned to analyse composition in film stills. Photography and film are a fantastic source of effective visual ideas. One day I wondered if I could find illustrations that matched the style of framing I saw in some photographs. As it turned out, it was possible — despite the fact that somewhere the similarities were just coincidental and not intended by the illustrator. I've since tried to utilise these ideas in my own illustrations and think it's a really inspiring system, that I’d like to share with others”.
Illustrations by Susannah
How we work
Materials and assignments
Questions on a way
Teacher’s feedback
Videos
Zoom-sessions with shared screen and explanation
Every day
We work using the Miro platform. The workspace looks like a huge virtual canvas and every student has their own board
If questions arise during the study process, they can be asked at any time and will be answered once a day
How to work on a sharing online board
Full version on prostaya.ru/learn_on_miro
To participate, you will need a computer or phone with a photo editing application
Schedule & course content
Friday
Wednesday
Thursday
Students receive the task and start working
→ Until 12 (Moscow time)
→ Until 12 (Moscow time)
Students post drawings and write reviews
→ Until next day morning
→ Until next day morning
The educator gives feedback in Zoom sessions
→ Thursdays at 19:00 (Moscow time)
→ Thursdays at 19:00 (Moscow time)
1. “Classic” framing
December 6–12
– Advantages and features of “classic” framing: illusion of depth, ability to draw the viewer’s eye into the picture and demonstrate the whole scene
– Visual exploration: training of the “cinematic eye” using a camera phone, collecting photographic compositional observations in a museum
– Compositional selection and creating an illustration
– Advantages and features of “classic” framing: illusion of depth, ability to draw the viewer’s eye into the picture and demonstrate the whole scene
– Visual exploration: training of the “cinematic eye” using a camera phone, collecting photographic compositional observations in a museum
– Compositional selection and creating an illustration
2. Asymmetrical framing
December 13–19
– Advantages and features of asymmetrical balance: visual tension, sense of movement, ability to draw the eye away from the subject
– Visual exploration: collecting photographic compositional observations in a shopping centre, focusing on capturing the incidental framing resulting from the internal architecture of the centre
– Compositional selection and creating an illustration
– Advantages and features of asymmetrical balance: visual tension, sense of movement, ability to draw the eye away from the subject
– Visual exploration: collecting photographic compositional observations in a shopping centre, focusing on capturing the incidental framing resulting from the internal architecture of the centre
– Compositional selection and creating an illustration
3. Living frames
December 20–26
– Advantages and features of asymmetrical balance: striking composition, even more extreme way to focus attention on a single character and create a quite intricate frame for a scene
– Visual exploration: collection photographic compositional observations in a location of their choice, focusing on capturing the incidental framing created by people there
– Compositional selection and creating an illustration
– Advantages and features of asymmetrical balance: striking composition, even more extreme way to focus attention on a single character and create a quite intricate frame for a scene
– Visual exploration: collection photographic compositional observations in a location of their choice, focusing on capturing the incidental framing created by people there
– Compositional selection and creating an illustration
4. Completion and analysis
December 27 – January 9
With a break for the New Year holidays
– Additional time to fully complete the work, qualitatively analyse discoveries and reflect on the assigned tasks
With a break for the New Year holidays
– Additional time to fully complete the work, qualitatively analyse discoveries and reflect on the assigned tasks
Materials & instruments
– Mobile phone with camera
– Pencils
– Eraser
– Coloured pencils
– Notebook
– Small ruler
– A4 or A3 paper for the drawing
– Any additional materials to create an illustration. Suggestions include: gouache, pencils, wax pastels, collage, ink or markers. Or digital — at the student’s request
– Pencils
– Eraser
– Coloured pencils
– Notebook
– Small ruler
– A4 or A3 paper for the drawing
– Any additional materials to create an illustration. Suggestions include: gouache, pencils, wax pastels, collage, ink or markers. Or digital — at the student’s request
Drawings by course participants
Course feedbacks
- Wanted to create portfolio pieces, try something new, was inspired by Susannah’s work. Amazing. Unfortunately due to my work commitments, I couldn’t be as involved as I’d of wanted but loved all tasks. I did the 3 weeks task over the 3 weeks, everytime I was in an interesting place to take photos. The sketches were all done in a day. Other feedback to people, keep pushing one photo/sketch. Being more aware of what framing I’m using and what it does. Loved it all!Emily Bornoff
- I wish it was a longer course so there was a chance to dig deeper in the topic and experiment. It took 5-6 hours to do the tasks + time spent on shooting references. It’s just a personal issue but the first week was the most difficult bc i‘m generally not very excited about symmetrical composition and it was a challenge to make myself do that (i wasn’t happy with my illustration at the end and even though i saw great examples of other students‘ approaches i just couldn’t make myself redo this task) After course I started to work more often with negative space.Lada Petrovskaya
Enrollment in a course
If you have a question — ask it!
January 17th — February 13th
5 weeks
5 weeks
«Frame it»
– Installments only work with the full price.
– Installments are given for 4 months.
– The price is simply divided into four parts without interest or additional payments.
– If the bank refuses (rarely, but it happens) – write to us, we will think of something.
– Installments are given for 4 months.
– The price is simply divided into four parts without interest or additional payments.
– If the bank refuses (rarely, but it happens) – write to us, we will think of something.